Autolux (Carla Azar: vocalsldrums, Greg Edwards: vocalslguitar, and Eugene Goreshter: vocals1bass) produced Transit Transit themselves with Edwards serving as engineer. It was recorded inthe band's studio, Space 23, located near downtown Los Angeles. The album begins with it's titletrack, an utterly unique concussion of rhythm, created from a looped sample of an old freezerslamming shut and a simple round of chords from an upright piano. The hypnotic density of thevocals and organic futurism of the instrumentation instantly rearranges any preconceptions aboutthe 'autolux sound'. Census and Supertoys play like the logical evolution and refinement ofFuture Perfect, delivering propulsive grooves and atmospheric chord changes, while Highchaircombines a simple, yet effective drum machine beat with tympani-esque tom overdubs to createan orchestral lo-fi dance track. There is a notable sonic progression throughout Transit Transit:vintage synthesizers and manipulated ambience glue central song components together, severaltracks are built around piano, all three members take turns with lead vocals, harmonies areabundant, and there is even a bit of trumpet. Ultimately, Transit Transit is propelled by itsindividual members' strengths, coalescing into beautiful, complex songs. Goreshter continues toinnovate his bass style, effortlessly modernizing the instrument's melodic role, while still providingan on-edge rawness and groove-filled momentum. Edwards' guitars serve to modulate the moodsthroughout the record, constantly evoking feelings found in the space between emotions. AndAzar's sturdy, creative drumming (a phenomenon to behgld QII stage) c~ntinue2o n record withplenty of hook beats - ferocious and delicate, at once.